This week we create two stories with panoramas, each as different as the elements the images are taken from: fire and water.
In the first example, I use Bash scripting to pan through a tall waterfall panorama I created in Hugin. A slow pan conveys the journey of 442 feet, giving viewers the feeling of following a single strand of water from top to bottom of the falls.
Here is the code I used to make the frames in this video
typeset -Z4 c seq 0 4901 |while read c; do convert akaka.jpg -crop 1920x1080+0+$c frames/$c.jpg done
and here is the line that creates the movie from the frames
avconv -f image2 -r 60 -i frames/%04d.jpg -b:v 15000k video.avi
The second, a night shot of our island's active volcano, is presented as a static panorama, but the story is one of ash travelling through the sky to create an orange moonrise. This story helps in directing my image processing choices. In this case, I am stitching a bracketed panorama because of the brilliance of the lava and the moon.
In both instances, I discuss considerations of preparing each frame in Darktable prior to stitching in Hugin. Then, after stitching, we come back to Darktable to make some final touches.
Complete Show Text
Kilauea Crater from Jagger Overlook
Lokowaka Pond, Hilo Town
(Mouse's voice) Aloha and welcome to Weekly Edit for Wednesday, December 28, 2016.
This has been an exciting week for us here in Hawaii.
Winter storms gave us snow on both of our mountains.
The clouds parted to reveal this incredible winter wonderland up above.
It lasted all week long as we prepared for Christmas.
And the whales are back.
We love our whales in Hawaii.
They come every winter.
Christmas in Hawaii is like every other holiday here: way too much food, celebrated outside in joyous abundance with lots and lots of people, fun, laughter, and music.
This week we had some friends on the island, so Harry and I went to Akaka Falls State Park.
The main attraction is a free-falling waterfall 135 meters high.
For us in the States, that's 442 feet.
Water falls from the Kolekole Stream down this freefall, all the way down into a pool below, and eventually makes its way to the ocean.
The challenge in this image is to capture something new and fresh when there is only one place that you can stand and capture the image.
Hundreds of other photographers have stood in that very same spot, probably within the last hour, and attempted to put a fresh face on it.
In this week's Weekly Edit, Harry will show you how he did this: his attempt to convey the feeling he gets, standing there overlooking a waterfall of this magnitude falling with this force into its pool below.
I love that place.
If you want to read about our adventures, just go to shootwithharry.com, where we wrote it up.
We do a regular blog post about our adventures.
You can read the whole story of our day there.
It's a fun read that ends with a sunset picture from Akaka Falls.
The second picture Harry will be showing you how to edit is a different creative challenge.
We went up to Kilauea Crater, our active volcano's highest crater, and witnessed the Supermoon.
It was a gorgeous night.
There was lightning off in one direction.
The Supermoon was rising in another direction, and the volcano has been putting on quite a show, bubbling up high in the crater lately.
In this image, he captured not only the volcano crater, but the sweep of drama across the sky.
The pollution from the volcano contributes to the orange moonrise.
He'll show you how to stitch together that panorama.
(Harry's voice) When I took a picture of this waterfall, I didn't want the waterfall to look tiny by doing a normal wide or even portrait form-factor.
I just took pictures of it right in the center with 100mm lens.
The sky was extremely bright.
I did two exposures for the sky, hoping that Hugin would just take care of that for me.
I'll use Hugin for the stitching on this.
First I'll do a quick pass on each of the different frames, then export them to TIFFs, then have Hugin stitch them together.
Then I'll process the complete image at the end.
I'll start here and see where I can set my exposure, seeing if I can increase it to get more detail in these shadows.
I'll take a sample and add it down here to a Live Sample.
I'll change it to Max and RGB and watch each channel to be sure I don't clip any channels.
If I clip any of these channels, I'll get color shifting.
I'm using my normal Base Curve for my Sony A7 camera.
I'll check White Balance as soon as I get started on the exposure.
I'm getting up around 246 here on my red.
That's close to as far as I want to go.
Now I'll look at the White Balance and make some adjustments there.
Then, maybe I can get my exposure up a little more, or maybe I'll have to pull it back some.
Let's look at these greens.
They seem like they should be pretty yellow.
And these greens look like they should be pretty yellow too.
These ones may be a little more normal, maybe a little yellow.
We want to look at Lab and Mean.
We've got a little more than twice the green here.
This one and this one are a lot more yellow than green, so we do have to bring the yellow down some.
I'll lower the temperature and bring the green up just a little.
What values do we have now? They're getting closer: this one's about 50/50.
Let's look at our Color Chart to see where we're supposed to be at.
Foliage: here we are.
Yellowish should be...
...if our L Channel is around 60...
...what's our L Channel at? Well, this one's a little more than 60, and these are a little darker.
Then, our B should be up around 50 -- 40 to 60 -- and our A should be somewhere around -20 to -30.
40 to 60 and -30.
I guess we're close.
That looks pretty good to me.
Now, how about the water? How does that look? Oh,that's really red! What can I do about that? There's not that much distance in the L Channel between the water and the lighter foliage.
This one's at 68; this one's at 82.
I'll have to use a Drawn & Parameteric Mask and adjust the color of the water with the Tone Curve.
So, Drawn & Parametric.
We'll do a really simple Drawn Mask; we just need to separate it from the foliage, that's all.
Then we'll turn on a Mask Indicator and bring up our Inputs.
There we go.
Feather our edges and Mask Blur that.
That looks good.
Now B Channel.
Get rid of this mid-point.
and bring down the amount of yellow.
I'm looking at this number right here.
This value here, when we started, was eight.
I want to bring it closer to zero.
There we go.
Before, and after.
While we're at it, let's bring out more detail in the water.
Yes, just like that.
I'll have to slightly modify this drawn area from frame to frame, but I feel like we're on the right track.
What else would we want to do here? A little noise reduction would be good.
Even though I shot this at 100 ISO, I can see a need for noise reduction in the fine mist.
If I just use Non-local Means Denoise (profiled), it comes on too strong.
I'm losing some detail.
I'll turn the Strength all the way down and slowly bring it up.
That's good enough there, although it looks like we now have a moire pattern here.
If I increase the Strength one more notch to 0.2, it goes away.
Okay, so 0.2 with the Non-local Means.
I want to bring out some detail in these deep shadows here.
The Tone Mapping Module might be the ticket for that, but let's try the Shadows and Highlights.
We'll adjust our Soften With to Bilateral Filter.
Yes, we've got some detail in there.
That looks pretty good.
I'll turn my Shadows all the way up so I can see where it's affecting, then turn my Compress up to exclude these brighter areas.
Now it's only affecting these areas.
Increasing my Radius a little helps.
I've got it up to 130.
Now I can turn my Shadows back down.
You know, I do like that, but I don't want it to happen here.
I'll apply this with a Parametric Mask so it really only happens in the very darkest parts.
It did a nice job in here.
Did that affect our highlights at all? I want to turn that off for Highlights.
I'm afraid that having it on makes the brightest ones get knocked down a little, and that decreases contrast and definition in the waterfall.
So, I don't want it on.
What else? Chromatic Aberrations should be corrected for, and that should do it before I try these same settings on each frame as we go up the scene.
I'll Copy All and apply it to the next one.
I need to go in to my Tone Curve and change the shape of this Drawn Mask to suit the water in this frame.
I'll have to do this for each frame.
It looks like I could increase my Exposure a little, doesn't it? We'll keep going up the scene and see if that's the case.
If it is, we can make a global adjustment to all of them.
Yes, we're clipping here.
Okay, I'll have to bring it back down from where it is on the bottom, even, then.
That looks good enough.
I've got a couple of spots in here, but it's not so bad.
And I don't care about this because I've got a second shot of the sky that I hope Hugin will sort out for me.
I'm down to 0.69, so I'll apply that to all of them.
I'll go to Copy, select None, and then only the Exposure, and paste that to these two.
Hopefully that didn't change our Parametric Mask for Shadows and Highlights.
It still looks good.
Now I can Copy the History Stack and apply it to this one and re-draw my Mask for the Tone Curve.
You'll see your History gets really long because it keeps adding them, but if you have the history compressed, it goes down to just the few items that were selected, so that's deceptive.
In this one, I don't need that Tone Curve at all.
Now I want to apply all these settings from this one to this one, but I want to make a slight change.
I want to increase the brightness of the foliage as much as possible so that the boundary between the sky and the foliage here, and the sky and the foliage here, matches better, as long as I don't clip the sky at all.
Let's do that.
We'll Copy All; Paste All to this one.
I already have a little bit of clipping here and here.
That makes it really tricky.
One of the things I can do is find out where these spots are and pin that.
Maybe even pin it down here.
Then bring up these, like that.
So, we haven't clipped our sky, but we've brightened up our trees so that this transition will hopefully match up better.
I'll export all of these and then we'll put them together with Hugin.
Okay, our exporting is all done.
Let's load our images into Hugin.
Shot with 100mm.
Focal Length Multiplier is one.
If it was a crop factor, it would be at 1.6.
And Link Position because I did multiple shots of that top part for an HDR type of blend.
Now I click Align.
That happened really quickly.
Very good fit: I like that.
And, just with the default settings, I'm pretty happy.
So, I'll say Create Panorama.
I don't need both because it's giving me an option for a low dynamic range AND a fused; I only want the fused one.
It says my height is 12000 px and my width is 3800 px; that sounds great.
This is going to take a little while, so I'll come back when it's done.
Since this is going to take a while, let's get started on our second panorama.
This one also tells a story.
The wind was out of the southwest.
It was blowing the volcanic ash from Kilauea Crater to the northeast towards the moonrise.
It made the moon colorful.
I want to show the association between the lava lake and the rising moon.
And I definitely want to bring out the stars.
This one I shot bracketed because the moon and the lava are both so much brighter than the stars.
I have a 1-second exposure, an eighth of a second exposure, and an eight-second exposure.
Eight seconds will be a little light for bringing out the stars.
I think I shot this at F1.8, if I recall.
It's a manual lens, so it didn't store the data, but I think this one was at F1.8.
At F1.4, the stars come out a little large, and they come out a lot sharper at F1.8.
So, I lose a little light, but I think it's worth it.
Even with the bracketing, the lava is pretty bright.
I'll have a hard time getting any definition in there: probably the same thing for the moon, too.
These are our brightest spots, so let's look at them to see what we can do.
Can we bring our Exposure down just a little on these brightest points and gain anything? It seems like we lose so much on the stars...
Maybe the best way to do this is to select large areas and have it adjust those with the Lowpass Filter and an Overlay Blend Mode.
I'll change that back to Normal so I can see it.
If I make it nice and big, maybe, like that, it won't darken the stars at all.
So, Blend Mode down to Overlay and Contrast to negative.
Well, that knocks down the moon a little and actually gives us more stars instead of less.
I didn't do much, just -0.2; I don't want it to look exaggerated.
Let's see what else is going on here.
We've got a lot of noise, so I want to look at Demosaic first.
Can we do better with Color Smoothing? That doesn't look much different.
How about with VNG4? That looks smoother.
If I turn off Color Smoothing? The grain gets a little larger then.
Yeah, okay, that looks like the best: just VNG4 and Four Times.
I've got my Base Curve on so that my colors are right.
I want to correct for Chromatic Aberrations, but I'm going to just use the Chromatic Aberration Correction and then see what it looks like in the output and determine if anything additional is needed.
I'd like to give the stars a little more shape and I want to get rid of all this noise.
On night sky images, I find that I usually use the Wavelets.
This is with the Non-local Means.
And you get these big blotches.
With the Wavelets it comes out so much smoother, doesn't it? You can even turn down the Strength some.
Now I've got this really fine grain, I can probably bring that out with the Equalizer.
I'll bring up two of these, like that, get rid of the grain, and then bring the size of this area under the curve over to the right as far as I can before I start getting that noise back.
Right about there.
I'll try to get a little more of the stars.
Not too much.
With the Highpass, I can look for small things, like that, and bring my Contrast down.
There we go.
Apply that with the Softlight Blend Mode.
What does that do to our stars? It gives us a little larger and brighter stars, a little more definition.
See around the edges, though, I've got some dark halo-ing? I think if I change it to a Parametric Mask and tell it to exclude places, not where it starts off darker, but where it ends up darker, I can get rid of some of that halo-ing.
That looks better.
Now I'll apply this to each of the frames and see if I have any problems.
History Stack, Copy All.
History Stack, Paste All.
Then let's take a quick look through these to see what they look like.
What do these stars look like? They look pretty good.
The noise level? And in the clouds? How about on these brighter stars? I think we're doing well.
Now, I had a specular highlight there, and I wanted to Now, I had a specular highlight there, and I wanted to try and key on that.
Hugin probably won't have a problem with it, but if I was going to have a problem with this right there, I could probably just get rid of this.
It looks like a specular highlight from light bouncing around inside my lens.
I can see it there, so that's a bad spot to have chosen.
That's a tough one.
Maybe I don't want it to replace it where it's the background is the same color.
So, I can use a Parametric Mask with that and eliminate the darker parts.
Oh, that looks better.
They all look good now.
I'll export them all, and we'll import them with Hugin.
Let's see how our stitch is going on the waterfall.
It's still plodding along.
Alright, I'll be back soon.
Now we're done exporting, and our first stitch is done.
Let's start our second stitch.
24mm on this one.
'Four unconnected image groups' Does that mean we'll have to align these by hand? Hmmm.
Let's try using the Multirow/stacked version of Cpfind and see if that does better.
Alright, let's see how that looks.
That came out wonderfully.
This is 7000px by 2300px.
Fused from stacks sounds good to me.
I'd like a little more resolution actually, so I'll set the height to 4000px.
There we go.
Okay, that's 12000 by 4000; that's better.
And there we go.
While we're waiting for that to run, let's see how our waterfall turned out.
That looks pretty good.
How did the border turn out? Not too bad.
It looks like there was some wind blowing the tops of the trees here.
This looks too colored.
I don't know if it's supposed to have that much color in it.
The waterfall looks perfect; I like that.
Let's see what color is going on up in the sky.
I'll combine that with a Drawn Mask.
There, now we're only affecting the sky.
We probably want to give it some Mask Blur too.
And it's the yellow that's the problem right there.
I'm looking down here.
It looks like we're pretty neutral right now.
I want to give it some color separation though.
I'll steepen both of these quite a bit.
There we go.
Now we're getting areas of yellow and blue.
The sky has a little bit of magenta in it, and we don't have any here.
But not much, because this is cloudy, so just a tiny bit.
There we go: 0.1; ...and -0.3.
That looks good.
I want a little color contrast in the foliage.
I'll sample the foliage, figure out what colors it has, and steepen that range.
Once again, a Tone Curve.
Change it to Area.
Let's pick from there to there.
I don't really want these stems though: just the leaves.
So, maybe from there to there.
And THIS looks better.
That looks like a good range.
I don't have a lot of dark stems: good.
Here's our A and our B.
I want to increase the contrast across this range, here, and this one seems to go right to the center point.
I'll bring that up a little.
Then, on this one, I'll lock this point in so it doesn't go up, and bring this one up.
There, that gives us a little more color and gives us more color contrast in our foliage.
How does it look down here? It looks good there too.
And over here? I think we're okay.
I think this foliage here is too bright though.
I'll have to do something about that.
How can I separate that? I don't want to get the waterfall.
Maybe if I look at the chromaticity.
Yes, that works.
I always like to give a little bit of a Mask Blur when I'm working with the L Channel.
Then I'll bring this down a little so it's got a little less contrast and doesn't stand out so much.
That's what I had in mind.
It looks like it worked out quite well.
I'd like to bring out some larger details like the individual trees.
We can use the Equalizer to do that.
I can look at what size is being affected by the Equalizer by giving myself a little bit of a gamma adjustment.
Then go to the Equalizer and change the Blend Mode to Difference.
As I bring these up, I can see what's going on.
Wow, even the largest setting gets pretty fine detail.
Yes, I want to get individual trees.
Those are too small.
Okay, I'm not going to use the Equalizer.
I'll use Lowpass Filter.
Turn my Saturation all the way down.
Bring my Radius up.
I think that's the size objects I want.
Use the Softlight Blend Mode.
There's our before and there's our after.
It gives us more contours in the trees.
I want to do that again.
Take my Saturation down and bring my Radius up.
There we go.
These size details are the ones I want to bring out.
Once again: Softlight.
Okay, I like this now.
This was before I applied the Softlight Blend Modes.
And this is after.
We've got more depth.
How is our water looking? It looks like I could get more definition in there.
I'll try the Highpass Filter.
I'll apply that with a Parametric Mask to just do it in the water and the Softlight Blend Mode.
How does that look? It brings out a lot in the water, maybe even too much.
I'll bring it down a little.
Now, I said I'm going to use a Parametric Mask to just do the waterfall.
Parametric & Drawn.
Turn on our Mask Indicator.
Then I'll just draw this in like that and use the L Channel to isolate it to just the waterfall.
There we go.
And a little bit of a Mask Blur on this.
I know it's just a soft blend mode, but it looked like some of the edges on the water were sharp.
There's our before and there's our after.
That brings out some detail there; that's nice.
I like it.
The only other thing I'd like to do: this edge of the canyon looks a little light; I think it should darken as it goes away.
I want to darken this up a little to finish.
Then we'll work on making our movie.
There, that looks like what I had in mind.
Can I bring out any more contrast in these clouds? They look a little boring.
I don't know.
Pin this edge, and maybe bring this edge down? Then these back up to where they were.
I like that sky better.
Lastly, it feels like the whole image could use a little positive gamma.
And a little contrast, not much.
There we go.
This top part here is still low in contrast.
I want to change the Black Point up there on that whole top.
That looks more natural.
I'll export this to a JPG with the highest resolution I can, but with the width at 1920.
Then we'll set up a quick script to crop it and make a movie for us.
Here we go.
This is my final output, so I'm converting to sRGB, and my Intent is always Perceptual.
Alright, our image is saved.
We can look at the size with the exiftool.
It says here it is 6195, so: echo 6195 and 1080 minus print.
I'll just subtract it here with dc.
Okay, it's 5115px high, so we need to use a command called typeset and the reason is that we're going to use AV Convert (avconv) to create the movie.
It wants 0-padded frame names.
So, if I do, for instance sequence from 0 to 10 (seq 0 10), it will give me without 0-padding.
But, if I do 'typeset -Z4 c' and then...
then you'll see that they're all 0-padded now.
Anything, any value that c gets will always be 0-padded.
We wanted 5115, so we'll do sequence from 0 to 5114 and type that into a while read c; do, and we're going to use convert.
And our original image is called akaka.jpg and we're going to crop.
We'll crop at 1920 by 1080, and our x-value won't change; it will stay at zero.
Our y-value will just be the c-value; it doesn't matter if it's 0-padded for this.
Then we'll name it.
We'll put it in our frames directory.
We'll name it $c.jpg and we'll have it echo c so we'll know where we're at while it does it.
There it goes.
(Mouse's voice) We make these tutorials every week because we want to share our vision of Darktable and other opensource image editing with you.
At this point, doing that takes two to three days a week, sometimes more.
And we love it.
Patreon gives you, our viewers, a way to contribute.
Sign up, pledge a small monthly amount -- it could be ten dollars a month and we'll send you these prizes.
Or, maybe you don't want a prize.
Or maybe you want to make it a little more -- or a lot more! Whatever you want it to be, it's easy.
You just put the number in the box, hit Continue, and Patreon will guide you through the process.
It's super-easy, and you're on your way to supporting us, helping us do what we love, week after week.
The other cool thing about Patreon is that, if you just go to this page at the beginning of the week, you'll see that I have posted a sneak preview of this week's topic.
You can find out what we're going to talk about before we talk about it.
I hope to see you there, on Patreon.
(Harry's voice) Yay! Our lava stitch is done.
Let's see how that turned out.
Oh, that turned out sweet.
This area over here needs more contrast, and there are some crazy colors going on in here.
Yes, right in here.
And over here.
Let's see what we can do about that.
First, let's sample this area.
And let's sample an area next to it.
What's different? Well, the B and the L look similar, but the A is vastly different.
It looks like the A Channel needs to be warmed up.
Well, if they've got such different A Channel, it would have a different hue, so I can use a Parametric Mask based on hue to separate that out.
We'll turn on our Mask Indicator.
First, we'll put the Eyedropper Tool right here.
Center our hue there.
Turn on our Mask Indicator, and then tighten this up until we get the areas we want.
There we go.
Then I'll combine that with the Drawn Mask.
That looks like the right area.
And a Mask Blur.
Now, it was a little dark and a little low on the A.
Let's sample that.
Alright; this one.
It's the pink, not the green.
Bring that up a little bit.
Bring up the L a little bit.
And a little bit of B, not much.
Well, that certainly looks better.
Let's see if we can do something similar right in here and warm that up a little.
Okay, sample these two: this area right in here, and this area off to the side.
What have we got different? Well, our L is about the same, and our B is about the same, and once again, the A Channel is different.
So, let's go to our A Channel and bring that up a little bit.
That looks better.
Okay: adding some contrast off to the side.
Right about like that.
That looks better.
It looks like the Black Point of the entire sky is a little off.
I'll just take one nice big gradient, like that.
A little bit more of this.
Let's see what our stars look like.
They look pretty good.
We don't have a lot of colors in our stars, and it looks like these colors here could use something.
I think we can add some drama and darken up these brighter areas by using a Subtract Blend Mode and a Parametric Mask, so we'll base it on the L Channel and go for these brighter areas.
Right about there looks good.
I want to brighten up this area again.
I'll hit it one more time.
Let's see: right from there.
I'm trying to match this transition zone here so it doesn't look odd.
Oh, that got a little too bright.
That looks just right.
I'd like for the clouds on this side to have a little less color.
I know there's a lot of glow from the lava, but I want to tell the story of the color going from here to here.
There we go.
And then let's sample these.
It's a lot of yellow, and a little bit of red.
We could probably bring these down a little.
There, that looks more natural.
And this looks a little bright over here.
Let's see if we can bring that down a little.
I want to see if I can get a little more definition in these clouds by using a Lowpass Filter.
I set up a pre-set here; it's just got the Contrast turned down a little and the Brightness turned up a little.
I can adjust my Radius and see if I can get some of these clouds to pop a little more.
That was around 10px.
I'll use a Softlight Blend Mode.
Let's see what that looks like.
That gives us a little more definition in our clouds.
I think I'd like these clouds to pop a little more over here, but I'd like for the sky to be a little darker.
I often find that there are regions like this that need hand-holding because when you're doing a panorama, the lighting is slightly different at different points along the panorama.
I wanted to bring that down a little bit.
And I want to bring this up a little.
I'd like for the effect to get stronger as you go up, so I'll combine this with a Gradient Mask.
So, another shape.
And we'll add this Gradient here.
We'll have it go from less down here to more at the top.
Then we'll need to combine these two masks together.
We'll go to the Mask Manager.
And this is on Tone Curve 8, so we'll open up Tone Curve 8, take that first one, change it to Union; take the second one and change it to Intersection.
Let's turn on our Mask Indicator and see what it looks like.
This is what I had in mind.
It's that shape I delineated, but more of the effect occurs at the top and less at the bottom.
I still want some of the effect at the bottom, so I'll make it a little bigger.
Now it fades from some to more.
I'll turn off my Mask Indicator.
There we go.
Before, and after.
It adds a little more contrast and matches our sky colors better over here.
This looks a little bright over here still in the sky.
I think that might be my final adjustment for tones.
A nice, soft edge here.
And, like that.
It's this sky I want to bring down some.
There, that matches better.
Okay, I want the stars to pop better.
And I might be done after that.
I'll use the Highpass Filter for that.
No, actually, I think I could do that with the Equalizer and use the Lighten Blend Mode.
Let's see: I'm on the Luma Channel.
That gives me more brightness in the stars because it's doing it by size.
How about this? Yeah, that one does too.
So, both of those.
Okay, but I don't want these dark halos around the stars, so I'm going to go down here to Uniformly Blend Mode and Lighten only.
So, it lightened the stars, but it didn't create the halos.
I can do the same thing with a little color too.
Give me a little more color in those stars.
Before, and after.
Now, how does that make the rest of the image look, though? That doesn't look bad; okay.
And, these clouds: I think I can make these clouds pop better, especially right here.
I'll use the Lowpass Filter for that.
Let's try that.
That looks like the right size.
Okay, I'll apply this with an Overlay Method, and I'll have to turn down the Opacity, then bring it up a little bit.
Not too much; this one's really powerful.
33% looks pretty good.
Before, it looks a little soft; now we've got a little more definition.
Good, we're done! Alright, we're all done processing frames on our waterfall.
Now, let's put them together.
AV convert, minus f for 'format' and 'image2' is what you want.
Now, minus r for the frame rate; I'll set it at 60 frames per second.
Minus i for your input, and we put these in a directory called frames, and they were four-digit, 0-padded, and they were JPGs.
Now the quality: minus b: video quality 15000k, and then the output: video.avi Now our video is done generating.
Let's see what it looks like.
Wow, that's a long waterfall.
I love the effect this gives.
Well, I hope you guys enjoyed that as much as I did.
Thank you so much! Have a great week.
(Mouse's voice) Aloha, and thank you for listening to another edition of Weekly Edit.
The best way to watch our shows is at weeklyedit.com.
There, you can just click on the arrow, go to full screen, and you're right here with us, watching the video.
We also have show notes, some links.
You can download the RAW files so you can follow along at home.
And a new thing that we do: you can download the complete text from the show -- the text that I transcribe.
If you want to put it in Google Translate or something, this is a handy way to do it.
Now, if there is a topic or a module that you particularly want to concentrate on, just click on it here on the main page, and we'll make a playlist for you.
That was a really bad one.
I think there's only one instance of Blemish Correction.
Let's take Compositing; that's been a favorite lately.
There's a playlist of all of the Compositing that we've been doing, since the beginning of time.
You can click on any one of those, or start at the top and work your way down.
It takes you directly to whatever video we did it in.
It's a real handy way to concentrate on something.
Going back to the main page.
If you want to find out what topics we talk about when -- if you want to do a little skipping around, maybe you don't have time to watch the whole thing or maybe you're watching it a second time -- go to the individual post, like I did there.
All of the topics discussed will be listed with their time-starting links on the right-hand side.
Same thing for modules.
It makes it super-easy, if you're in the middle of Tone Mapping, say, and you want to know how Harry did Tone Mapping at the beginning of that video: there you are! Tone Mapping.
Just go right back up here and you're where you need to be.
Again, thank you for joining us this week to conquer the challenge of Akaka Falls.
Check out our Patreon page early next week for a sneak preview of what we're going to be doing on our next episode.
We do that every week.
And, please, write to us with questions, with suggestions and comments.
We always reply, and we love to hear from you; it's inspirational to us.
See you next week!